Bryn Mawr Review of Comparative Literature Volume 6 Article 4 Number 1 Winter 2007 Winter 2007 Review of Marshall Brown, The Gothic exT t. Ruth Bienstock Anolik Villanova University Follow this and additional works at: https://repository.brynmawr.edu/bmrcl Let us know how access to this document benefits ouy . Recommended Citation Anolik, Ruth Bienstock (2007). Review of "Review of Marshall Brown, The Gothic exT t.," Bryn Mawr Review of Comparative Literature: Vol. 6 : No. 1 Available at: https://repository.brynmawr.edu/bmrcl/vol6/iss1/4 This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/bmrcl/vol6/iss1/4 For more information, please contact [email protected]. Anolik: Anolik on Brown Marshall Brown, The Gothic Text. Stanford: Stanford University Press, 2004. 280 pp. ISBN 0804739129. Reviewed by Ruth Bienstock Anolik, Villanova University Writers on the Gothic have long remarked on similarities between the excessive Gothic text and the unleashed Gothic monster. In her 1831 Introduction to Frankenstein, Mary Shelley equates her text with her monster: "I bid my hideous progeny go forth and prosper." In The Gothic Text, Marshall Brown also turns to this well-worn metaphor: of Horace Walpole's The Castle of Otranto, he notes, "[the] author never . mastered or understood the monster he was creating" (33); of Frankenstein, Brown writes, "Like the monster, the novel is misshapen" (185). More recently, with the burgeoning interest in Gothic literature in the wake of the postmodern focus on the marginal text and writer, scholars like Maggie Kilgour have remarked on the monstrous proportions of the body of Gothic scholarship. Brown also acknowledges the uncontrollable excess within the body of Gothic criticism: "critical books on the gothic novel have flooded in" (xi). In fact, horror is an appropriate response for a scholar facing the burden of attaching a new appendage to the monstrously proliferating body of Gothic criticism. And yet in The Gothic Text Marshall Brown adds something new to the literature, taking a fresh critical approach that results in a thought-provoking argument. In his first two chapters, "Three Theses on Gothic Fiction" and "Fantasia: Kant and the Demons of the Night," Brown introduces the propositions that ground his argument and serve to interrogate the orthodoxies of Gothic criticism. He asserts that the major contribution of the Gothic text to literature and culture is the movement toward an introspective focus upon the subjective self that aligns the Gothic project with that of the Enlightenment; Brown thus posits the Gothic perspective as complementary to Kant's thinking. Moreover, Brown contends that other aspects of the Gothic considered important by critics -- the supernatural, the sublime and the political -- are mere distractions. In Part I, "Origins: Walpole," Brown argues that the major contribution of Horace Walpole, the putative creator of the English Gothic, is not the introduction of ghosts and the supernatural to the literary scene but the development of the Gothic focus upon the interior of the human psyche. In Part II, "Kant and the Gothic," Brown shifts his focus to Kant to consider the philosophical resonances of the Gothic focus on interiority. This section surveys Kant and his followers' theories of mind, consciousness and the soul, occasionally weaving in discussions of the Gothic text. In Part III, "Philosophy of the Gothic Novel," Brown explores the implications of his reading for specific Gothic texts, all European: Balzac's The Wild Ass's Skin, E.T.A. Hoffman's The Devil's Elixirs, Charles Maturin's Melmoth the Wanderer, William Godwin's Caleb Williams. In Part IV, "Consequences," Brown continues to read Gothic texts through the prism of his theories, returning to Radcliffe, the writer who engenders his discussion, and arguing that Radcliffe deploys her influential clichés as means of understanding the world. Brown also presents a reading of Shelley's Frankenstein that develops his primary argument for the significance of psychic interiority and the insignificance of the supernatural and cultural contexts in the Gothic novel. Brown concludes his monograph with "Postcript: Faust and the Gothic." This chapter expands his reading by taking the somewhat startling step of interpreting Goethe's Faust within the context of his Gothic theories. BRYN MAWR REVIEW OF COMPARATIVE LITERATURE, Volume 6, Number 1 (Winter 2007) 0 1 Bryn Mawr Review of Comparative Literature, Vol. 6, No. 1 [2018], Art. 4 Brown comes to his argument by taking a refreshingly new perspective on the Gothic text; he focuses on the seemingly empty narrative space that connects the moments of horrifying action that punctuate the Gothic novel: the descriptive or reflective sections that, as Brown persuasively argues, many readers and scholars tend to see as distractions from the more dynamic plot developments for which the Gothic is famous. Brown bravely describes the typical experience of reading Gothic literature: "one slogs to the occasional fireworks through marshlands of descriptive or even analytical prose" (xi). He posits an alternative reading in which "background becomes foreground" (xv), and the "formal structures of gothic style" (xv), the recurrent motifs for which the Gothic is famous, become less important than the thematics of the Gothic, its focus upon the inner life. In focusing on the slow, seemingly static, passages that record the mental processes of the Gothic narrator and character, Brown discovers that these sections, rather than the descriptions of horrifying and supernatural activity, are central to the Gothic. In Brown's version of the Gothic, "perceptions and imagination are the focal issues" (xiv). For him the meditative passages reflect a textual shift of focus upon the interiority of the individual, the space of the psyche, which Kant was simultaneously imagining. Ultimately, Brown makes a compelling case for focusing upon "the words actually filling the pages [rather] than . the incidents that only intermittently spark them or . the fantasies buried beneath" (xi), revealing to the Gothic reader much that is missed in "reading for the plot." Thus, in Brown's formulation, reading the meditative and descriptive moments that permeate the Gothic text through the prism of philosophy reveals "what they show us about the transcendental dimensions of experience" (xii). Brown's reading of the long descriptive passages of Ann Radcliffe provides a strong foundation for the assertion that the focus of the Gothic text is the psychic interior. Brown contends that Radcliffe deploys her descriptions of nature as a means of turning inward toward the human and that the landscape exists only in terms of its subjective meaning to the observer. Thus in observing nature, Radcliffe's characters experience "[t]he discovery of consciousness as an interior expanse, a world of qualitative feeling" (107). Nature, and the long slow passages used to delineate the natural world, are, then, a means toward understanding the self. Turning to some admittedly more exciting and plot-driven Gothic texts, Brown asserts that even "the big-boned novels of Lewis and Maturin have vast empty regions" (4), pointing to the interior spaces of the human psyche. In fact, Brown asserts that the landscape of Maturin's Melmoth exists only through human consciousness, thereby connecting the Gothic psyche to "the Wordsworthian imagination" (144), that in part creates the landscape it perceives. The conceptual core of Brown's argument is the alignment of the Gothic text with Enlightenment philosophy, exemplified by Kant, an argument that is truly provocative since the Gothic is usually considered an outgrowth of Romanticism. Having established the significance of the move toward interiority in the Gothic text, Brown works to link the Gothic and Kantian foci upon the interior geography of the human psyche. He argues that the Gothic text is a "contemporaneous discourse, originating in or deriving from the writings of Kant" (xiv), and he asserts that Kant, while demarcating the limits of human reason is, like the Gothic, attracted to the limits of consciousness that lie beyond Enlightenment boundaries: "One tenet of Kant's philosophy is that human understanding is impelled towards its limits" (70). Brown invokes the language of the Gothic to emphasize the significance of the unknown space that lies beyond Enlightenment comprehension: "The Critiques both construct and keep at bay an imagined, BRYN MAWR REVIEW OF COMPARATIVE LITERATURE, Volume 6, Number 1 (Winter 2007) https://repository.brynmawr.edu/bmrcl/vol6/iss1/4 2 Anolik: Anolik on Brown 'transcendental' realm that haunts the borders of our experience" (x); "Kant's imagination is haunted at its edges by a mysterious world beyond the limits of reason" (12-13). Kant's thinking evokes in the reader "the sensations of a passion outside the limits of reason" (79); it gestures to a "ghostly world" beyond (83) and to the "ghosts that haunt the edges of Kant's imagination" (91). For Brown, then, the Gothic text and Kant propose a model of the psyche in which transcendent mysteries lie beyond the grasp of human comprehension. Since Kant focuses on the rational world within comprehension and the Gothic on the irrational world beyond, the two texts complement each other in important ways, each focusing on the aspect of the psyche that is repressed by the other. Thus the Gothic provides the space in which the individual encounters whatever lies beyond Kant's boundaries, filling in the blank within Kant's formulation, dramatizing the abstractions of Kant by constructing the world that lies beyond the known: "the gothic relieves us of the utter featurelessness attributed by Immanuel Kant to the thing in itself. For, indeed, the gothic lavishes its most colorful eloquence precisely on the limits of experience where the in-itself resides . The gothic confronts us with transcendent reality" (10-11) and in doing so reveals "the nature of pure consciousness" (12).